1982, BFA: Maryland Institute College of Art, MFA: Cranbrook Academy
of Art; Lives in Detroit, MI
A painting by Alison Wong typically represents the most ordinary things—a square of tissue and small scraps of crumbled wallpaper (Tissue Tears, 2018), or a dog’s mangled chew toy (Tattered and Torn, 2018). The painting technique is virtuosic, and the materials are the stuff of high art. She applies the paint thinly, layered, wet-into-wet; one delicate, detailed area at a time. The small scale of the works, objects depicted close to their actual size, deny any heroic, monumentalizing impulse. Why, one wonders, does she lavish so much effort on something so ordinary, so insignificant? But this questioning is right where she wants us.
Born Toledo, OH, 1969 / BFA, The Ohio State University; MFA, Ohio University / Lives in Ferndale, MI
Adrian Hatfield begins a painting with the most paradigmatic of painters’ actions—a gestural flooding of the surface with paint, a fast fluid marking and puddling of the space, abstract, colorful, atmospheric, lyrical. But the next steps in the process are much slower, more thoughtful and measured. In executing his most recent paintings, Hatfield makes a digital image of his abstract beginning before inserting and arranging various collected graphic imagery, planning the painting digitally. Eventually, graphic images are screened onto the actual painting surface, and fragments of various canonical artworks are painted into the piece. Each painting is a startling mix of quoted images, torn from some other context and pushed together into something new: a mash-up of high and low culture, scientific and religious signs, and an anxiety-laden blend of the sublime, uncanny and abject.
Born Detroit, 1974 / BFA, Wayne State University; MFA, University of Iowa / Lives in Detroit
The artwork of Ryan Standfest is a wild collection of materials, media, and processes. He produces comics, performances, etchings, sculptural objects, videos, artist books, animations, art criticism, installations, short stories, and more. Trained as a printmaker, this early commitment reveals his deep interest in a socially distributed art, art that is multiple in its nature, non-elitist in its availability. The old high/low art dichotomy is irrelevant to him—a recently reworked video, The Dirt Eater (2007, 2018), for example, has a soundtrack that moves from the kitsch of Irving Berlin to the esoteric tonalities of Krzysztof Penderecki. He ignores the easy categories of traditional practices, and his Rotland Press, curatorial activities, and writing merge seamlessly with his production of more traditionally identified visual art forms, like linocuts or installations.